Stanhope Orris, Princeton, New Jersey, before 1938 (according to a note on the back of the stretcher, which reads "This painting was purchased from Stanhope Orris collection (ca. 1938/39), Professor of Greek at Princeton University who spent his vacations searching for paintings in Europe^")1;
Archie A. Gilhousen, Sierra Madre, California, until 1968;
With Hiley B. Chenoweth, Arcadia, California:
From whom acquired by The J. Paul Getty Museum, 1968 (as Orazio Gentileschi).

Northridge, CA, Fine Arts Gallery of California State University at Northridge, Baroque Masters from The J. Paul Getty Museum, 26 February - 30 March 1973, no. 3 (as Jacques Blanchard).

J. Vallery-Radot, Le dessin français au XVIIe siècle, 1953, p. 61;
C. Sterling, "Les peintres Jean et Jacques Blanchard," in Art de France, vol. I, 1961, p. 87;
B. Fredericksen, Catalogue of the Paintings in The J. Paul Getty Museum, Malibu 1972, p. 93, no. 124 (as Jacques Blanchard);
P. Rosenberg, "Quelques nouveaux Blanchard," in Etudes d'art français offertes à Charles Sterling, Paris 1975, p. 224, note 20, (as a questioned attribution);
P. Rosenberg, France in the Golden Age.  Seventeenth-Century French Paintings in American Collections, New York 1982, exh. cat. New York, Metropolitan Museum of Art, 26 May - 22 August 1982, p. 345, no. 10, reproduced (as by Blanchard, but questioned);
Tableaux Français et Italiens du XVIIe siècle des Musée des Beaux-Arts de Tours, Musée de Richelieu, et Château d'Azay-le-Ferron, exh. cat., Musée des Beaux-Arts de Tours 5 November 1982 - 30 January 1983, Tours 1982, p. 33, reproduced (as Jacques Blanchard);
C. Wright, The French Painters of the Seventeenth Century, Paris 1985, p. 144 (as attributed to Jacques Blanchard);
D. Jaffé, Summary Catalogue of European Paintings in The J. Paul Getty Museum, Los Angeles 1997, p. 133, reproduced (as School of Simon Vouet);
J. Thuillier, Jacques Blanchard 1600-1638, Rennes 1998, pp. 293-294, no. R15, reproduced (as a rejected attribution).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has been quite recently cleaned and restored, even though the lining is older, possibly even 19th century. There are remnants of old varnish visible under ultraviolet light but further cleaning will not necessarily enhance the picture. The grey cloak of the Madonna is the one color which has not survived as well as the remainder of the painting and there is abrasion and perhaps remnants of an old glaze which leaves a slightly uneven feeling to this element. However, the remainder of the painting is in much better condition and while there are a few slightly abraded areas, in the strands of hair of both figures for instance, the picture has a robust quality.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."